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. Since I live alone, he would call me at least twice a week to check on me and see if I was faring well. If I wasn’t, he would al- ways be there to assist me in whatever way he could. I am the godfather xv of his youngest daughter, Kimberly. For this I am very grateful. She is a joy to my heart. I miss Don dearly. I met violinist and composer William Henderson through George Butler, who used to be an executive producer for Blue Note Records and then later for Columbia Records. Bill was the conductor of the Los An- geles Modern String Orchestra, which consisted of a

. Liner notes to Ella Fitzgerald: The 75th Birthday Celebration. The Original Decca Recordings. Decca GRD-2–619, 1993. Mosaic Records. Liner notes to The Complete Verve/Clef Charlie Ventura and Flip Phillips Studio Sessions. 6-CD set. Mosaic Records MD6 182, 1999. 448 | Selected Bibliography Schaap, Phil. Liner notes to Bird: The Complete Charlie Parker on Verve. Verve Records V 837 141–2. Copyright 1998 PolyGram Records. Verve Records. Liner notes to The Complete Billie Holiday on Verve, 1945–1959. Originally produced by Norman Granz. Executive producers

Philosophy (Princeton: Princeton University Press, 2002). 188 We like a storm. Immanuel Kant, Critique of Judgment, bk. 2, sec. 28, “Nature as Might.” 190 The order of art itself. E. M. Forster, “Art for Art’s Sake,” from Two Cheers for Democracy (London: Edward Arnold, 1951), 98–104. 193 They “resonate” with it. New York Times, Arts, May 18, 2002, 8. A few years later, the 9/11 connection could be made more candidly. According to Jonathan Prince, the show’s creator and one of its executive producers, “The 60s really began with the assassination of J. F. K, just as our era

shepherded Vladimir Horowitz’s return to the stage, and for the next decade he was manager to the great pianist. In 1982, back in New York, Gelb went to work for Ronald Wilford, chairman and CEO of Columbia Artists Management Inc. (CAMI). As he remem- bered it, Wilford gave him “an offi ce and a salary, and said, ‘You decide what to do and create your own job.’ And out of that, CAMI Video was born” (Times, Nov. 6, 2004). Between 1988 and 1992, while at CAMI, Gelb was executive producer of the Met’s media department with responsibility for “Th e Metropolitan Opera

., 148. “My pitch to”: Munk, Vanity Fair. 422 • No t e s t o c h a p t e r e l e v e n 2. “access was more”: Mead, New Yorker (Oct. 22, 2007): 144. Volpe is said to have cast a jaundiced eye on Gelb’s work at the Met from the start. In 1992, he replaced Gelb’s executive producer position with a radio network producer and a television producer: “I didn’t need an executive producer. Guess why? I was the executive producer.” In 2006, Gelb created the position of director of media and presentations, to which he appointed Mia Bongiovanni. “occasionally directed

motion picture soundtrack Verve Forecast, 2005. 23. Th e Great Gatsby: Music fr om Baz Luhrmann’s Film, soundtrack, executive producer Jay-Z with over a dozen primary artist credits (e.g., Beyoncé, Fergie, Q-Tip), Interscope, 2013. 24. Koji Kondo, Super Mario Bros. Th eme (“Ground Th eme”), Nintendo, 1985. Short Titles 3.34 Aft er the complete citation has been given once, a frequently cited source may be abbreviated. Use this system in preference to the abbreviations op. cit. and loc. cit. 16. Schumann–Brahms Briefe 1:69. 17. Kalbeck, Brahms 1:198. citations and

the organizers of the series was publicist Jim Eigo, who had been a devotee of loft concerts in the 1970s and obses- sively collected fl yers and ephemera.23 In the years that followed, Eigo would also be involved in two CD releases that paid further tribute to the loft s. In 1999, he produced the fi rst reissue of the classic Wildfl owers recordings, documenting the Studio Rivbea Summer Festival in 1976. Th e following year, he served as executive producer of a box set of recordings made in the 1950s–60s loft of painter David X. Young.24 Th e trend of using

of the early 1930s, one abetted by advances in sound engineering and cinematogra- phy, and operating under the vigilant eye of Joseph Breen, enforcer of the Hays Office’s Production Code. In early 1936, the immense labor of Porgy and Bess behind him, Gershwin contacted his agent, Arthur Lyons, about possibly writing a film musical of his own. Hollywood was natu- rally interested. Paramount floated the idea of a musical for Bing Crosby; Samuel Goldwyn, one for Eddie Cantor; and RKO’s executive producer, Pandro S. Berman, an adaptation of Strike Up the Band for Fred

surprise ends The Newest Jazz Generation 161 with the very definition of a jazz groove, a mellow musical conversation between Messrs. Weinstein and Person that transcends the players’ ages and styles, achieving the joyous act of communion that has made this music an international language. Credit for this enduring recording is due Mat Domber, the owner and executive producer of Arbors Records, who not only immediately felt the need to record Mr. Weinstein but made this twenty-year-old the producer of his first album, in charge of choosing the musicians and the

the Impulse! label: The Hardbop Grandpop and A Prescription for the Blues. Then Verve Records merged with GRP, and they switched me to the Verve label. My first and only album on Verve is Jazz Has a Sense of Humor. Even though I didn’t have great success with Silveto and Emerald Records, I still kept Silveto Productions Inc. When I signed up with GRP/ Impulse!, I signed as Silveto Productions to produce Horace Silver. All the recordings I’ve done for GRP/Impulse! and Verve were produced by Horace Silver and Silveto Productions Inc. My executive producer was Tommy